Regret for her reproductive failure

Since the car accident, Frida had undergone thirty-three operations and her most life is sustained by intubatton. Her dogged vitality created her first myth while her great talent in drawing made her one of the world’s greatest painters and built up her second legend. Her third myth was her husband Diego Rivera, who was one of the three masters of Mexico’s mural. In 1929, the twenty-two-year-old Frida married the fourty-two-year-old Rivera. No matter how many legends she had created, hospital was still frequented by her. In a hospital of San Francisco did she come across docter Leo Airosai, who had become her close friend. Such an issue of reproductive failure caused by the car accident constantly haunted her. Her first abortion made her aware of the fact that her body cannot handle the pressure of pregnancy. The following two abortion made her accept such a fact. She wrote to docter Leo, ” My dear docter, you cannot imagine how much I want to write to you for a long time. I’ve longed for a little Diego and weeped for serveral times. However, everything goes to the dogs, and I have no other choice but to bear such a fact.”

In some letters, there were detailed descriptions of the symptom at the initial period of her pregnancy, early abortion and the frequent severe pain of his back caused by the car accident in 1925. Isabel. Bolula, the one in charge of the restoration and collection of these letters, said, “Frida feels frustrated because she wanted a child but this dream cannot come true.”

Frida and her docter talked about everything under the sun, even including their views of the world and personal love life. In 1931, Frida said in her letter, “I did not draw patings and idled around the whole day long. I disliked the Upper Class in New York. At the sight of tens of thounds of poor people, I was furious about the weathy there. ”

Restoration of their marrige suggested by her doctor

In the love life between Frida and Rivera, Leo played a vital role. In 1937 when the two had divorced, they wanted to remarry each other. The letter from Leo lent credence to the restoration of their marriage. In Oct, 1940, he wrote to Frida and said, “Diego loves you very much, and you also love him. Of course, you know your husband better than I do. Except you, he also has two fondness: the one is drawing paintings, the other is women. He has never abiden by and will not obey monogamy.”

Following her doctor’s suggestions, Frida grew more and more confident and even said that she was jealous of Rivera’s ex-wife Guadeloupe. Mayun because she gave him two daughters. “Please don’t get mad at me after you have acknoledged my ideas. This morning when you invite me to the concert, I would have decided to go with you, but I cannot bear it and lose my desire to the concert when I know that Diego has invited Mayun’s friends. I would like to be frank with you, because I know you can understand me as well as my change of mind.” In 1940, Frida even sent his self-portrait to Leo and said, “dedicate my self-portrait and all my love to my dear doctor and my best friend Leo”.

The final mystery of Frida Kahlo unfolded

At the urging of Rivera, letters were locked in the cabinet at Rivera’s home in Mexico’s city. Rivera asked the keeper not to open it until fifteen years later. When Rivera passed away in 1957, one sponsor of Rivera hided these letters in the wall of his bathroom in order not to damage this couple’s image. Later, this apartment became a museum. In 2004 when the sponsor has died for a year, the museum unlocked the cabinet containing the letters.

At the fifty anniversary of Rivera’s death, her correspondances with docter Leo was made public and collected into a book. Here was the beginning of Rivera’s letters “my dearest doctor”, so the publisher named this book My Dearest Docter. Now, these letters are exhibited together with the other three thousand items of Rivera in Mexico.

Pierre Auguste Renoir was born in a poor tailor’s family in Limoges. At the age of five, he moved into Paris with his family. At the age of thirteen, he mastered the craft of drawing paintings on porcelain. In 1870s, Renoir often went out with Monet to paint from nature and swaped painting skills, especially how to paint with lights and colors.

In 1874, Renoir was invited to the first impressionist painting exhibition with his painting The Theater Box, which symbolized the mature of Renoir’s painting style. Later, in 1876, he Renoir demonstrated the grand spectacle with this method in his another painting The Ball at the Moulin de la Galette. The random sunspots through the trees scattered upto people’s body, face, tables and grassland, which really effectuated impressionist slogan “light is the master of paintings”. This was the important representation of impressionism at the aspect of the convention. It seemingly depicted the lively and merry atmosphere of a famous outdoor cafe in Pairs, but factually its real subject is the sunlight through the trees. Casted upon a human body, the sunlight brought about rich light effects, which fully demonstrated impressionist painter’s heightened sensitivity about the light and color effects.

Since 1876, his painting style had been forstered towards ripeness. The representative works in this style such as Luncheon of the Boating Party, Two Sisters (On the Terrace) all were celebrated by Critics and Official Salon for their bright, colorful and dizzling lights and colors. Accompanied with success in his career, his living conditions have also achieved great improvement, so he decided to leave France for the eastern countries in order to pursue new subject matters and inspirations. He has traveled to many places, such as Algeria, Uk, Florence, Venice, Rome and other places of interests in Italy. At the sight of Raphael’s paintings in Rome, he exclaimed, “Wonderful! I should have seen them earlier.”  Then, his artistic pursuit went back to the classical academism. He once said, “I prefer Angell’s oil paintings.” This is a crisis in his artistic pursuit, but even in such a crisis, he still kept his impressionist spirit in all his lanscape paintings.

     Sunshine, air, nature, women, flowers, and children were the very subjects Renoir painted with rich colors in his span. Although all his life had been spent in poverty, all his paintings were sweet and bright. In his paintings, with a vein of melancholy in their eyes, all women were plump, beautiful and attractive; all the children were pure and simple. Such a great master at figure paintings caught rheumatism in his later life. Althoug his hands and feet became deformed and great pain seized him, he still kept drawing paintings.

Among all the impressionist painters, Renoir maybe the most popular one, because all his subjects were lovely children, flowers, beautiful scenery, and especially the pretty women, which would definitely attract all the audiences’ attentions. Renoir painted all the delight and pleasure he found from the above-mentioned subjects directly on his canvas. He had once said, “Why cannot art equal beauty? There are enough terreible and ugly things in the world.” He was also an admirer of female images and once expressed, “I cannot finish the portrait until I feel that I can touch the image in the painting.”

Among the impressionist group, Renoir was the youngest one, one year younger than Monet. In most works of this artist, young housewives were described in lucid, lively, and warm tones, espcially their naked images. With special traditional skills, he painted their soft, elastic skin and plump body. Although he had painted many paintings about landscapes and innocent images of children, the naked and female images dominated his works. Comparied with the pretentious and hypocratical pursuit of the previous painters in other schools, his body paintings were filled with a happiness and youthful spirit. All of them were like Eve in the garden of Eden, who never tried the forbidden fruit. They’re so leisure and so charming.

Depression with no pain

The guide tells us that there is a key to the analysis and understanding of Klee’s works. If you can understand that this artist has relentlessly sought after the origin of life in his paintings through the use of abstract lines and colors to express philosophic propositionsn, it will be easy for you to figure out the implied meanings behind these lines and colors.

At first, expressionism headed by Goya, Enso and Kubin has a great influence on Klee and then the works of Van Gogh, Matisse and Cezanne also give him many enlightment. In German, Klee competes with Color master Robert Droney, August Macke, Franz Marc and Wassily Kandinsky as well as other artists. His traveling experience in Tunisia also blends a special color meaning inot Klee’s works.

       In the exhibtion room on the second floor exhibite Klee’s paintings in various periods. Because of his personal experiences, a sort of oppression can be traced in his paintings, but it is surprising that you may feel that it is not totally pain but also something fantastic and wonderful involved in such an oppression. For instance, although there is a limpid tear on the left side of that portrait painting in praise of the mother who endows people with life, a kind of generosity, the same with the eternal smile of Buddha, can be felt from her acceptance with the suffering from birth-giving. It is often the case that something exotic appears in his paintings, such as something that looks at neither like a dog nor a horse, creatures with an innocent expression, blue-face girl with an opened snout of the crocodile. His own answer to these is that painters had painted in imitation of that power which creates the whole world, the same as the children imitate us when playing game.

Alexander Klee, Klee’s grandson and inheritor, is determined to build up an art museum for his grandfather. He is not only a painter, the same as his grandfather, but also a photographer. He contributes Klee’s part works to the city government of Berne and a private sponsor offers a piece of a land and construction fund. Besides, they also have received many funds from some individuals and fundations. The italian architect Renzo Piano is responsible for the design and construction of the whole center.

Built for this “contemporary art master of avant-garde “, this art museum has assumed well-marked features of avant-garde architecture. In appearance, this building stands in the center of the road as if a connecting plant. The whole museum is connected with three huge waved ceilings and made out of metal strips in streamlined appearance. The interior decoration is dominated by natural wood while the interior wooden floor is boarded into the arc shape, which is perfectly matched with form of the road. The main building is totally situated in the slope, which is well integrated with the green slope.

An invisible person

When still alive, Paul Klee once said that he himself was an invisible person. He was born in a village in Berne on December 18th, 1879. His father was a music teacher of Bavaria descent while his mother was from Berne. After having hesitated for a while between music and paintings, he still devoted himself into paintings. In 1933, he was forced to leave German for Switzerland until his death. Although both disappointed and tortured by sickness, he still held a retrospective show between Berne and Basel, which has made a huge splash. As far as the whole painting history has been concerned, there is no other influential painter who keeps himself far away from Nabi faction, Fauvism and Cubism movement, and with nothing to do with painting school in Paris.

His lifespan has been spent in the process of being confirmed firstly, and then being denied, but finally being confirmed again, which is no longer important for him anyhow. When the Nazi rampaged about, he was shunted aside. He also suffered from agonies of Scleroderma in his last years. This German who was born in Switherland and hadn’t taken his Swiss citizenship when he was alive, was regarded as a god after his death. However, there is one thing worth of our comfort, namely, his soul, the combination of agonies and happiness, has become immortal and peaceful at this waved art museum.

In the middle of 1870s, Renoir had developed his unique personal style, always arranging figures with sunlights around them in the outdoor woods and making his figures the medium to demonstrate the instant magic light effects. Vivid details were melted into the flowery dreamland, so that his paintings assumed some abstract tastes. The random light spots broke down the shape of the figures, produced the dynamic dance, and showed the musical happiness.

In 1876, Renoir demonstrated the grand spectacle with this method in another painting The Ball at the Moulin de la Galette. The random sunspots through the trees scattered upto people’s body, face, tables and grassland, which really effectuated impressionist slogan “light is the master of paintings”.

Simlar with Renoir’s other works, this painting also showed a carefree, gay life. However, at that time, he led a dog’s life, so he had to invite his relatives and friends as models of the main characters in this painting. The diagonal line sketching method makes seemingly complicated paintings in good order and highly organized. It is the two ladies facing the armchair in the middle of the painting and the pair of dancing partners in the left dominated the atmosphere of the whole picture. Light spots scattered the whole body of that man with his back towards the foreground, extended to the whole painting and responsed well with the above chandelier, which reinforced the dreamy atmosphere. The random lights filled the whole picture and melted figures and environments into a whole. These were just the key interests of Renoir, who was fascinated about the special charm of such round spots. The flickering lights were casted onto the faint figures and environments, so that all were endowed with the colored shapes and danced to the painter’s graceful brushwork. This fully demonstrated Renoir’s great ability in grasping the relationships between figures and lights. The rigorous form and harmonious colors made his paintings reach their perfect levels.

Hopper once points out, “I always paint for the very purpose of reflecting the most vivid impression in the real world by using the precise method”.

He goes on, “Normally, if one nation’s art can best reflect its people’s qualties, it has reached its most perfect level. ”

Out of respect and intersts to the masses’ privacy, Hopper depicts such subjects as the ordinary citizens sitting in an all-night-open restaurant and leasurely having their meals, self-satisfied tenants reading newspapers in a barely furnishhed apartment, naked beauty gracefully dressed up in the morning, and the tired and bored usherette in the small gaudify cinema.

Only a few paintings are drawn by Hopper each year. Usually, the painting subjects will take him several months to think carefully with new ideas. Afterwards, he starts to draw the painting at a heat.

He leads a simple life in his apartment in the Washington Square, New York with only two painting rooms, one bedroom and one kitchen. He usually immerses himself in his own work-drawing paintings in a hovel with solid white walls. Combating extravagance and pageantry, he wears only tweeds and has light meals, either having meals with his wife in the restaurant near his apartment for a shift or eating some canned food at home. This artist enjoys driving and has driven across the USA from the east to the west for many times.

At the turn of the new century when the American art has freed itself from conservatism and many modern artists such as Rockwell Kent and George Bellows has shot to fame, Hooper refuses to go with the stream and still keeps his painstaking artistic creation with his identity totally hidden. Not until at the age of 43 has he gained a widespread reputation.

Detached from mainstream art of that time, a kind of lonely passion has been immersed into all his works and become his unique style. Detailed and refined depiction in his paintings, such as the Victorian architecture, streets, roadside restaurants, shows in the cinema, and farmhouses in New England, are typical representations of American landscape. All his works are not filled with the hustle and bustle of city life, but oppositely with a sort of silence before the coming of storms, or after great disasters, or watching passerbys behind windows.

In essence, his inspiring unique artistic style belongs to modernism, but not any modern school. At the beginning, he addicts, himself neither to tradition, nor to innovation, but keep insight and adhere at his own artistic direction. At the retrospective show of Hopper’s paintings at Whitney Museum of Art in 1964, Times artistic reviewer John Canard writes an article to speak highly of such a great artist. He says that Hopper is a big man with a similar figure as a university rower at the beginning of this century and rather a distance runner with the skinny but solid muscles on the artistic arena. His pace, sure-footed as a goat, has not slowed down with the march of time. Today, he has already held a safe lead on the artistic course and no one in America can merely Match with him, lagging far behind him, The only one can competes with him is Pablo Picasso in Europe.

       No one knows why they have a quarrel. However, their painting styles are really unique, although they both belong to the impressionism. Van Gogh is bright, hard and dry while Paul Gauguin is dark, soft and moist. In fact, their real characters may be exactly opposite to what they seem to be, because Van Gogh suffers from depression while Gauguin lives a God-like life. Gauguin’s later life has been spent in Hiva Oa island, Tahiti where he buys a piece of land and builds a large house named “House of Joy”. He has nothing to do but two things only, namely, painting-drawing and love-making. However, he needs something to stimulate himself to do the above-mentioned two things, so he goes drinking. It is more often than not that he cannot afford his drink money, so he even had to exchange money with his own paitings. That guy takes his painting home, but is accidentally caught by his wife who sets a fire to it because she thinks it is so ugly and nonsense.

Many people feel pity for the burning of that painting, but I think that lady really have an eye.

In accordance with regular standards, there is nothing beautiful as to the Tahiti Women drawn by Gauguin. They’re stout, lax, with no wax and curves. Besides, I also think that their expression  shows no shame and let desires all hang out on their faces.

　　Undoubtedly, this word “unashamed”  is a commendatory term because it means “frankly”. However, if used in the context “the noble savage” formulated in the Enlightment in France, it refers to “natural and childish”, a kind of quality civilized men think they have already lost. Hence, it is normal enough that Gauguin has been admired so much by the followers of Englightment. It is a popular belief among Voltaire and his folowers that everything from the Savage is good, but it is unfathomed. Likewise, every culture differing from European ones all are excellent. That’s the very reason why Voltaire elevates China to an inappropriate height. All in all, Frenchmen have such a tradition.

However, I have no idea about the real reason why Gauguin has been so admired, either for his paintings, or his action of returning to nature. Of the two reasons, the latter is more likely than the former. Does really Thoreau really gain his fame by Walden? I would rather believe that it is because that he has lived in a forest two mile away from his home for two years. No matter how I dislike Gauguin’s paintings, they are better than Walden. What’s more, Gauguin has covered thounsands miles away from Pairs, so he reasonably has gained more reputaion.

Born in 1848, Gaugin has spent his childhood with his childhood in Peru and later moved back to Paris. He has ever learned commercial navigation and been a stockbroker with a successful operation for a quite long time. He has ever married once and had five children. After his business has gone bankrupt, he tries to make a living by selling paintings. However, his business has not been picken up, and he has been in a bad mood, so he decides to escape from the world and abandon his family. When going to Tahiti, French territory in southern pacific, he finds that the capital Papeete seems to be dominated by Frenchmen, which makes him unhappy, so he leaves for the remoter island Hiva Oa. Maybe Gauguin often makes radical comments, so he has been suspected as a spy or agitator by the island officials. Finally, they find that he is nothing but a sexual epicurean, namely, one who enjoys making love with local women.

　　 Those paintings by Gauguin really assume the soul of sexual epicureans. Body lines, fat or skinny, beautiful or ugly, all can be denied. What you should do is to fully employ all your senses to feel the trembling of desire, which is also the denotation of “be on cloud nine”. As I have mentioned above, all the women painted by Gauguin are tossed about shameless desires. Maybe he really knew what women love, but it is undoubtedly that I’m sick about this.

　　 As a civilized man, I think such a straightforward expression of desires doesn’t suit those women in my accustomed circumstances. It makes no difference between the eastern and western. The so-called civilization basically means refferring to what we originally want by developing a set of the semiotic system.. In brief, when a man met a woman and have desires with each other, they will make many flashy but not substantial things and getting straightfoward to the point is deemed as vulgar behaviors. Naturally, we enjoy using such a set of the semiotic system and think that these tricks are funnier than love-making when we talk about love. If a woman stared at you with fixed eyes, most people will be scared away.

　　Of course, civilized arts are devoted not to straightforwardly let desires out, but to demonstrate these tricks or semiotic system. Before Gauguin, how many western artists dare to paint desires directly? I even doubt whether we have met them. In a word, Gauguin broke the game rules! However, he must pay the price for his action. This price, as to Gauguin, is to enjoy nonstop excitement of love-making and never get tired of it even when he suffers from syphilis. No proof proves that Gauguin has gotten tired of such a life. However, our attention should be caught by a story that the last painting drawn by Gauguin in Tahiti is snow while local persons have no idea about what athe snow is. Maybe he misses his home, but he cannot come back again. Soon, another cross appears on the tomb of the small island.

In 1890，he begins to create the most significant collection -”Life“-a suite of paintings. This suite of paintings has extensive subjects and makes the celebration of  ”life, love and death” as its basic subject, adopting metaphors and symbols to explore human worry and horror at the end of the century. Created by Munch in 1893, The Scream is the strongest and most exciting one in this suite of paintings and also one of his important masterpieces. In this painting, Munch, in an overstated way, depicts a twisted, screamed human image, in which human extreme loneliness, anguish and terror in front of the immense universe are described most vividly and incisively. Munch himself ever told about the origin of this painting as follows:

One day, I wandered along a road, on the one side of which is a city and on the other is a fjord. It tired and sick, I stopped, looked into the other side of the fjord and found the setting sun with blood-stained clouds around.

I felt a harsh scream penetrating the universe, as if I could hear it. I drew this painting immediately, including the blood-stained clouds. These colors were screaming and this is The Scream in the suite of painting life.

In this painting, there is no any specific image hinting on the horror which causes such a scream. Images in the center of this painting can make your hair on the back rise. He seems to be crossing us and heading toward the railing in the distance. Covering his ears, he can neither hear the footsteps of that two disappearing passerby, nor see the two boats and church steeples in the distance. Otherwise, the whole loneliness may be reduced a bit. Completely isolated from the real world, this lonely person seems to be completely conquered by the extreme terror from the bottom of his heart. This image is highly exaggerated and that deformed, twisted and screamed face is totally comic. The wide-open eyes and sunken cheeks can easily remind you of a skeleton connected with death. This is nothing less than a screamed ghost! “This can only be drawn by the insane,” Munch described in his draft.

In this painting, Munch makes every color have something to do with nature in a certain way. Although blue water, brown earth, green trees and red sky are exaggerated in an expressive way, but they don’t to lose their general truth of these colors. All colors in this painting are gloomy. Strong blood red suspends above the horizon, giving audiences a sense of premonition. It clashes with purple color in the darkness of the sea surface. The purple turns to be cloudier for its extension towards the distance and the same purple repeatedly appears on the loner’s clothes, while his hands and head are left in the pale, dull brownish grey.

In this painting, everything is filled with energy and energy. The curves of sky and water from a striking contrast with the strong and straight oblique lines. In the revolving movement, the whole sketch is full of rough and strong rhythm. All formal components seem to deliver that harsh scream. Maybe this method of visualizing sound can match with visualizing strength and energy in the Starry Night – masterpiece of Van Gogh. Here, Munch transforms the extremely inner anxiety caused by the scream, into the compelling abstract images. In this way, all emotions in the painting have almost been enhanced into a perfect level.

　　Usually, The Scream is thought as the first formalist painting. The intense colors in the painting flame out audiences’emotions like the fire, developing into Munch’s special painting language. In this painting, anamorphic distorted human image, blood red background, as well as trembling, revolving, and circling lines are like the craziest ideas of a person while this rightly comes from the real inner world of Munch. They reflect Munch’s personal feelings, terrifying components he bears in life, hostility towards this period, and protest against his inner weakness as well as the mechanized heart, expressing his despair and way of escaping. This is not only Munch’s scream, but also a predictive description of human spiritual beliefs in the modern society and a metaphor of the tragedy of human themselves. This is the origin of Munch’s art, because he is destined to pay the deserved price for art.

Born in Figueras, Spain in 1904, Salvador Dali’s whole life is filled with legend.

Dali, a brilliant and imaginative painter, has made a major contribution to surrealism and arts in the twenty-first century at the aspects of making subjective world in dreams become objective images. Apart from drawings, his articles, eloquence, movement, appearance, moustache, all impress his admirers a lot. As the Spanish surrealist and graphic painters, Dali has gained great fames for his exploration of subconscious images.

At an early age when Dali studied fine arts in Madrid and Barcelona, his works reflected many artistic styles as well as his remarkable talents.

His painting style has not become mature until the end of 1920s. On the one hand, he has absorbed Ideas of Singmund Freud who has said, in his important works about the effects of sex upon subconscious images, that only when his sober mind becomes numb, the innocence and wildness hidden in a person’s body will become active; On the other hand, he has made friends with a group of brilliant surrealists in pairs who were trying to prove that sub-consciousness is “a more important reality” high above rationality.

In order to produce an image out of sub-consciousness, Dali began to induce visions by using a method self-described as the “critical state of paranoia“. Since then, his style rapidly became mature and his paintings drawn between 1929 and 1937 made him the most famous surrealist artists in the world.

In the dreams, he described in a weird and unreasonable manner, ordinary objects are twisted and deformed. Dali painted these images in a subtle and unerringly precise way and usually put them in a very desolate but sunny scenery. Among these riddle-like images, La persistencia de la memoria is the most famous one.

Created in 1931, La persistencia de la memoria is a typical representation of Dali’s surrealist style at the early stage. In this painting, on the open beach lies a horse-like ghost, on the front of which is a human head weirdly constituted of eyelashes, nose and tongue and next to which is a platform with a dead tree. Most surprisingly, many clocks in this painting become something soft and malleable. Appearing to be wilting, they are either hung on the tree, or hunched on the platform, or worn on the ghost’s back, as if these clocks, made from hard substance such as metals and marbles, has been worn out and loosen in a long period. Dali confessed that “personal dreamland and fantasyland revealed by Freud” was reflected in this painting, which is the result of his self-sub-consciousness and every idea in his dream written down in an indiscriminate and precise way. Besides, in order to find such as surrealist visions, Dali has ever tried to understand the consciousness of patients in mental hospitals and believed that their movements and speeches usually are the most honest representation of the mental world. With his well-developed skill, Dali delicately portrays those extraordinary images and details and creates a sense of reality inducing visions, which enables audiences to appreciate interesting sceneries hardly seen in the real world, and undergo a psycho experience of being free from orders in the real world.

A common characteristic can be traced in Dali’s works is that disconnected images in the real world are mixed together, for example, Facial Visions and Fruit Plate, in which fantastic scenery such as the gulf, waves, mountain, tunnels, a dog head image and railway viaduct across the neck strap of the dog head can be found. Hovered in the air, the dog’s middle body is constituted of a fruit plate full of pears which is integrated in a girl’s face. This girl’s eyes are made up of special shells on the beach, where is filled with extraordinarily weird images. As in the dream, something such as strings and tablecloth appear in an extraordinarily clear manner while other shapes are obscure and indistinguishable.

At the sight of Dali’s works, we cannot help signing, “this may be what surrealist drawings really attract us.” Dali’s method of making a comparison between illusive images and magic realism, stand his paintings out of all surrealist works. In his whole life, numerous well-liked and well-known artistic works had been created. These works all sparkles with his great talent and also bring boundless imagination to this world.

However, this offense would turn out to be a shock, if the High Society would have been informed of the truth of Manet’s privacy. Recently, a documentary article reported that Manet’s father, one of the most respected judges, had a love child brought up by Manet as his own.

In a program of TV5 named “each painting with a story”, art critics Wademar disclosed that August Manet, the senior judge of Supreme Court and the senior official of the judiciary in Pairs, had a child with a lady hired as the piano teacher.

Ten years later, Edward got married with this piano teacher and her son Lien  had appeared in many of Manet’s paintings, so it was suspected that her son should be the painter’s own child. However, Wademar rolled his eyes upon such a saying. He rather thought that Auguste was forced to agree Manet’s decision as a painter and sponsor him as a return to conceal the truth. From the view of a person from the upper class, painter is deemed as holding no promise.

　  ”Surprisingly, his father accepted his decision to be a painter and bore his living and education expenses. It was not so easy for Auguste Manet to accept his son’s rebel and sponsor him, which definitely did not conform to his personality. Maybe Auguste was not as respected as he pretended to be; or Edward knew some affairs that his father didn’t want to make public, or some of his father’s secrets” , Wademar disclosed, “the most convincing evidence showed it was Auguste Manet but not Edward Manet who was little Lien’s father. If so, Edward wanted to tell his own understanding about hypercritical respectability, nature of lust, the prevailing hypocrisy in his Lunch on the Grass created in the same year when Auguste passed away. ”

When Edward was born in 1832, Auguste expected him to hold a post in a judiciary. However, at the instigation of his uncle Charles Fournier, Manet determined to be a painter. He was apprenticed to classical painter Couture, who was famous for the classical nude paintings. In 1863, Pairs official salon rejected the exhibition of his Lunch on the Grass, on the charge of “indecent exposure”. When finally appeared on the Salon des Refuses, it arose from a storm and was deemed as foolish, childish, even naïve.

The maximum value of this painting was that it witnessed the break between Menet and classic nude painting method. Under his brush, the nude dared to steadily stare at the audiences while the two gentlemen beside her did not wear ancient clothing but the fashion ones. 

Professor John House from Courtauld Institute said, “In this painting, the pointed offense could be easily sensed. A modern lady without clothing sat together with two well dressed gentlemen, which obviously offended public decency. However, if you should be a man of a taste, this painting would be absolutely elegant. None could paint clothing as complete, obvious and forward as he did”.

Viktorledue Mulunte, a nude model, served as Manet’s Muse for ten years and was the model of the painter’s another controversial work Olympia. In the picture, a naked courtesan was sitting on a couch. In the eyes of some people, this painting equaled with great scourges and pregnant women are discouraged to appreciate it.

In Lunch on the Grass, there were two male images: one was Manet’s brother Gustav with a cylindrical cap and the other was her wife’s brother Ferdinand. This painting was inspired by those paintings such as a concert, which was universally accepted as Georgie Weng’s works at that time and deemed as Titian and Lafeiersi’s works recently because they often made nude ladies and dressed men as images in their paintings.

Michael Hall, an editor of Art Journal Apollo, said that he was unsure about whether this painting was an interpretation of Manet’s family secrets, and doubted about the explanation of doing the biography through drawing paintings. He continued, “In my opinion, Manet tried to use this painting as a representation of the Past.”

Although opinions varied widely and no unanimous conclusion could be drawn, it brewed the coming of a significant period. Waldemar pointed out, “Without this painting, there will be neither Impressionism, nor modern schools.”

Of course, artistic values cannot be measured merely by money. Such a question aims to tell you that if you want to gain some knowledge about oil painting, you should not only be attracted by Van Gogh and Picasso, which is the same as that you cannot call yourself a well- informed person about luxuries, if you know nothing but LV.

GustavKlimt is one of the greatest Austrian painters at the end of 19^th  century  and also the founder of Vienna Sezession. With brightly decorative colors, especially golden color, he prefers to apply such specail painting skills as gelled patterning and gilding as well as the paste feather and so on. Gold-embedded painting style is the remarkble symbol of Klimt’s style, whose symbolic decorative style directly influences the later expressionism and Art Nouveau Movement at the beginning of twentieth century.

It is not so hard to imagine what a shocking visual effect Klimt has brought to us. I like his paintings because of its charming and warm color, relentless pursuit of details, and using ‘peacock feathers, gilding, colors’to enrich and create his inner world. He usually paints the naked women with plump and soft bodies, dreamy eyes, and loose hair which released a sort of foggy beauty. Their body is demonstrated in a natural and childish way and little filth can be sensed. Naked women are his skilled and favoriate subject, so he is also called Casanova Falling Klimt.